Morlock

The movie is excellent in surprising ways.

@Joey: Hating facebook is not a good reason to avoid the film- the makers of the films kinda do, too. @Mark: I believe Roger Ebert called it the best looking worst film he'd seen, or something of the sort.

....aside from the first and best one, that is. Tomorrow Never Dies is very setpiece-y, and themtic consistancy is not one of its main features.

I believe it was around 2006- and I, too, sensed that he was being far more generous in the recent interviews. I think that Horner was being extremely unkind in the interview...but I can also understand being a bit resentful of all the adulation Yared received at his expense and, rightfully or not, Yared also implied that Horner was being a dick by using the same soloist. Horner walked into an uncomfortable situation, and all he got for it was grief from everyone involved. I could understand him being pissed off...Yared's the saintly martyr, Horner's the tactless and talentless hack- it's not a pleasant way to be spoken about. It's a terrible situation, and neither Yared nor Horner were being professional.

I also enjoyed it, but I thought it had serious problems with it (I HATED the fake looking-back interviews). I enjoyed other recent Howard films more (Cinderella Man and Angels & Demons). Complete snoozefest? Hardly. It is a fine film and, incidentaly, one far less throat-grabbing than the Howard film, and Clooney's film actually does deal with an important chapter in American television history.

Peterson has shown a lot of backbone in hiring composers, but very little in keeping their scores in the film (Kinda reminiscent of Ridley Scott and composers who aren't Vangelis, Hans Zimmer or Marc Streitenfeld).

I was just amused by the brevity of your post.

It's probably my favorite Yared, though I am very fond of Ripley, in large part due to the lullaby.

True, but the tv thread has neither the class nor the brand-recognition of this one.

That's a bold (under) statment. I've been listening to Tadlow's recording of Exodus. The score's terrific, with the main theme being featured surprisingly sparingly. But the performance really wowed me. I can't get over that Nick Redman and Prague -who used to be known for their weak brass section- have become an absolutely first rate orchestra with these Tadlow recordings. They're absolutely stunning recordings of magnificent scores...I can't praise Mr. Fitzpatrick's efforts highly enough.

Watching Curb Your Enthusiasm and The Larry Sanders Show. Both are very good, but I'm surprised at how much I like the former (Sanders so far feels more repetitive).

Morlock- *sigh*

Finally actually saw it...that was fantastic. Shows how vital film criticism can be.

Didn't we already have this thread and all its contents at the time? I mean, I'm fine with a tribute to Yared's terrific work...but must we rehash the Horner interview?

Nothing sticks out...John Barry's rumoured rejected score to Clash of the Titans?

That's why I find subtitles pretty much indispensible- makes it so much easier to pay more attention to everything but the dialogue.

I know Villa-Lobos had a score rejected....

I think that while it's true that it's hard to look at a futuristic city without thinking about BR, it is also inspired by earlier works, and one can find antecedents for modern distopias in comics and book covers that were around before the film (not to mention the influence of Metropolis).

I cannot imagine an extended edition adding anything good...anyone seen both.

That's Lucas' argument, and it is not a good one at all.

I can't think of a rejected score that could inspire such talk from the not-so-easily-impressed Mr. Bulk...I'm very intrigued by these developments.

A lot of actors pass away and I don't feel much. But I am really, really saddned by this. He was one of my favorite actors, never failed to brighten any film he was in. A terrible loss of a marvelous actor.

Armond White loved it, and he's never wrong.

I used to be put off by that, too. But The Corpse Bride convinced me that the techincal eccentricities are precisely what make it such a unique art-form, and taught me how to love stop-motion (by being so utterly unspectaculay that it may as well have been cg).

This seemed as good a place as any to say this- I was just looking at the list of upcoming scores on FSM's poll on the main page- and I can't believe how much exciting stuff there is to look forward to next year. At least two a piece from Giacchino, Shore, Zimmer, Desplat, Elfman, and, of course, Williams, and many of them on really exciting projects. I'm sure many of these will fizzle and dissapoint, but I'm still very optimistic.